Congratulations to the five winners of the 2021 EDAA! Each artist receives a $5,000 grand prize and a one-year Production Membership to Trinity Square Video. Learn more about the artists and their exceptional works below.
Twenty_Four_Seven / 365, 2019
Twenty_Four_Seven / 365 is an immersive interactive installation that illustrates the rising dangers of surveillance technology for communities of colour, including its ability to regulate behaviour in both subtle and overt ways. Pointing to specific technological advancements that have given police departments and governments increased capabilities to monitor, track, and punish specific groups, the work aims to provoke reflection on the nature of privacy and consent in public spaces in hopes of sparking an inclusive dialogue among audiences.
Photo: Car Martin
Aljumaine Gayle is a queer artist and creative technologist working at the intersections of tech, art, design, and data justice. Their artistic practice explores and subverts the othering of blackness in contemporary life. Aljumaine is a student in OCAD University’s Digital Futures program and a researcher with the University of Toronto’s Technoscience Research Unit.
Fish/Scale Cones, 2020
Fish/Scale Cones takes fish scale art into the digital realm. The time-intensive artform includes catching whitefish, processing the scales, then dyeing and organizing them into careful compositions—a practice that is based on relationships with the water, local First Nations and Métis fishers, and the fish themselves. Konsmo plays with the idea of ‘scale’ using macro photography, layering physical fish scales over top of digital images of enlarged scales to create traditional floral forms, prompting close attention to the intricate details of this important material.
Photo: Melody McKiver
Erin Konsmo is a Métis Prairie queer who grew up in central Alberta and is a member of the Métis Nation of Alberta. Their artistic practice currently focuses on fish scale art, an artform they were mentored into by Métis artist Jaime Morse. Erin is an advocate for the water, land and fish.
Stuck is an exploratory game with the objective of guiding a small seedling on an introspective journey out into the world, where they must face their personified negative feelings in order to better understand themselves. Taking inspiration from anti-role-playing games such as Yume Nikki and Mother, Stuck’s character interactions range from comical to bleak to overwhelming. As the player traverses a series of mental planes and abstract landscapes, they come to empathize with the seedling’s mindset and join in the quest for self-acceptance.
Katelyn Hawley is a recent graduate from OCAD University’s Expanded Animation program, originally from Halifax, Nova Scotia. Her game-based works explore how nonconventional characters move and interact with the world, blending fluid animation and surreal storytelling to leave a lasting impact on players.
disabled! is an experimental video documentary that examines the role of disability in fanfiction. Narrated through a fan-made avatar of River Tam from the television show Firefly—a non-visibly disabled character that serves as a stand-in for the artist’s own imperceptibly unwell body—viewers are taken on a tour of the many worlds of fanfiction. Paralleling the inherent inquisitiveness and ingenuity of the genre with the artist’s own quest for alternate ways of living, the work creates space to challenge and reimagine our understanding of disability.
Olivia Dreisinger is a disability scholar, filmmaker, and writer. Her own fluctuating abilities often dictates how she produces work—a process that regularly leads her to new and generative mediums to explore. She splits her time between Victoria and Vancouver, Canada.
Field of Reeds, 2021
Field of Reeds is a 360-degree video that explores nature’s position within the urban landscape. Accessed through the sterility of a computer screen, a simulated virtual plant biome offers an escape from a future reality where all plants and animals have gone extinct. Physical movement is restricted within the vast digital ecosystem to ground the “user” in place as their perception slows to the pace of the surrounding flora, their attention drawn to the meditative stillness of plant life moving in cycles to reflect the environment’s slow moving circadian rhythm.
Photo: Minelly Kamemura
Shonee is a Canadian-Costa Rican digital media artist based in Montreal who uses the immersive potential of video and speculative fiction to create artificial life. In the virtual worlds she creates, surreal creatures embody humankind’s objective and narrow misunderstanding of the lives of plants and animals in this time of ecological crisis.